Showing posts with label research. Show all posts
Showing posts with label research. Show all posts

Tuesday, December 28, 2010

Laughing Seriously

But the most general articulation of the problem of the relation of women to the law has been set out by Luce Irigaray. In Irigaray's view, women start in an impossible position. "Women are in a position of exclusion... Man's discourse, inasmuch as it sets forth the law... [knows] what there is to know about that exclusion." The exclusion of women is "internal to an order from which nothing escapes: the order of (man's) discourse." it is futile to imagine that, from a pocket within man's discourse -- for instance, from within the legal system -- women can substitute feminine power for masculine power: while seeming to be a reversal, this "phallic 'seizure of power" would leave women still "caught up in the economy of the same." "There is no simple manageable way to leap to the outside of phallogocentrism, nor any possible way to situate oneself there [on the outside], that would result from the simple fact of being a woman." Man's discourse can be taken over only via the path of "mimicry." Unless the woman's utterances are to remain "unintelligible" according to the code in force," they must be "borrowed from a model that leaves [her] sex aside."

All of which does not mean, however, that the law, as part of the discourse of the masculine imaginary, has to remain a closed and forbidden book. On the contrary, once a women has reconnoitered it and demarcated its "outside," she can situate herself with respect to it as a woman, "implicated in it and at the same time exceeding its limits." But her implication in it cannot be taken with unequivocal seriousness. To inhabit the male imaginary seriously is to commit herself to a simple reversal of power, to fall back into "the economy of the same."

To Irigaray, feminism and jurisprudence are thus not incompatible. But a feminist jurisprudence that is not ludic, that in return for access to the law concedes the claim of the law to its dignity and respects that dignity, by that concession gives up its independence. "Isn't laughter the first form of liberation from a secular oppression? Isn't the phallic tantamount to the seriousness of meaning?" "To escape from a pure and simple reversal of the masculine position means... not to forget to laugh."
Quoted from: J.M Coetzee, Giving Offense: Essays on Censorship, (Chicago, London: The University of Chicago Press, 1996) pp. 27 - 8.

All quotes and references from: Luce Irigaray, This Sex which is not One, trans. Catherine Porter with Caroline Burke (Ithaca, N.Y. Cornell University Press, 1985).

Friday, December 17, 2010

Accurate Fictions of Self: Glimpses of Photographer J.L.Buckland



Coming Through the Rye, c. 1897. (Akaroa Museum)

Jessie Buckland at the window of her Akoroa studio. c.1907. (Macmillan Brown Library)

Jessie Buckland (1878-1939) is notable as one of the few solo and recognised woman photographers of her time in New Zealand. Taught by her aunt Bessie Hocken, she learnt photography alongside her siblings in Dunedin. Buckland continued her practice winning acclaim for her photographs in competitions in Australasia and had a successful professional studio in Akaroa for 30 years after moving there in 1902. From reading one of the few texts about her life and work, Vickie Hearnshaw locates Buckland as a feminist and an individualist within the male-dominated feild of photography. Reading between the lines of this text, I got a sense of closeted conjecture about Buckland's sexual orientation. Buckland never married, but whether she was a lesbian is a purely anecdotal speculation on my behalf. That aside, for me the most compelling aspect of Buckland's work is the strength of the gendered, humorous tongue-in-cheek content visually articulated in some of Buckland's early non-commercial photographic work (perhaps amongst her best) within the context of a male-dominated field at the turn of the century.
Jessie Buckland follows the recognised pattern of early women photographers. She was self taught, working initially in comparative isolation, in association with her family. In her choice of subject matter, she relied almost exclusively on her immediate surroundings and its people: first, the Strath Taieri region in Otago, and after 1902, Banks Peninsula in Canterbury. (p.42)
In 'Coming through the Rye' Jessie, as the man, and Ina Burnett, her friend and neighbour, as the woman, pause momentarily in a field of sun-ripened grain, before the craggy peaks. The activity of 'picture making' as opposed to 'picture taking' was an important part of the whole process, with much time spent in the planning stages of each photograph. An idea had to be thought up, then suitable costumes organised and poses rehearsed with all the camaraderie of an amateur theatrical performance. For the successful outcome, Jessie was reliant on the co-operation of her family for technical assistance. In many cases, after setting up the scene, Jessie would have a 'helper', another member of the family, to release the button, as in 'Coming through the Rye' where Jessie was also a protagonist in the scene. (p.45)
In a carefully composed study of Buckland dating from this period, we glimpse her standing at the open window of her studio, a hand some woman, one who commands our attention. She holds a wooden plate bolder in her right hand as an attribute of her chosen profession. In her dress she reveals her preference was for the less restrictive code adopted by the progressive woman of the period. Older Akaroa residents' most frequent memory of Buckland is of her cycling to and from her borne to the studio, an image consistent with the 'new woman' of the turn of the century. (p.51)

Above excerpts and images from Vickie Hearnshaw 'A Study in Black and White: The Life and Work of Photographer Jessie Buckland'. Women's Studies Journal vol. 13. no. 1 Autumn (1997). Apologies these bad photocopied images sadly don't do her work justice. The Hocken and Akaroa museums hold much of her work but McMillian Brown does have some images for viewing online here.


Rachel, despite the slight difference in age/era from what I can tell, perhaps Buckland is a little like Beatrice? Behind and in-front of the camera at the same time?

In light of Barthes, Hito, Maljkovic, Beatrice, Buckland's collaborative procedures, and our current paradigm of working collaboratively on this project, what does it take to make a picture? create an image? stage a set?

Four Stages of Construction of the Eiffel Tower. Henry Guttmann/Getty.


Clare Noonan, Portrait Card (2009)



Friday, December 10, 2010

An oddly affectionate gesture

We're all wondering what's up with the nipple pinching right? The following provides a  rundown of the provenance of this ol' painting from the curators at the Louvre:


Gabrielle d'Estrées and One of Her Sisters, unattributed, c. 1594, Oil on panel, H. 0.96 m; W. 1.25 m. Louvre, Paris.


"The candid gesture may be an allusion to Gabrielle's pregnancy and the birth in 1594 of César de Vendôme, the illegitimate son of Henry IV.

... Although very much in the style of the second school of Fontainebleau, this work remains anonymous. It shows the influence of Italian Renaissance art in the sensual contours of the bodies of the two young women, but also contains references to Flemish art, such as the intimacy of the background scene.

Italian influence: The trompe-l'oeil technique
The artist has made skillful use of the trompe-l'oeil technique, using an imitative, realistic style for on the sheet in the bath and the two curtains framing the scene. The trompe-l'oeil effect is accentuated by the view of what is taking place in the background room. Richly colored, unsettling in its presentation of two women in their bath, and mysterious in its use of symbol - the ring being shown by Gabrielle d'Estrées, for example - the sensuality of the painting made it a popular success. Sensuous yet marvelously delicate, the contours of the two naked bodies are highlighted by the lighting of the two women from the left and the contrast with the shadowy background.

An oddly affectionate gesture
The models have been identified as Gabrielle d'Estrées (1571-99), the favorite of Henry IV (1553-1610), and one of her sisters: the Duchess de Villars or Madame de Balagny. The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing - perhaps preparing a layette for the coming child - in the background. The picture was acquired by the Louvre in 1937".

The Louvre website, retrieved on 8 December 2010

And that ol' term for a picture within a picture:

Las Meninas, DiegoVelázquez. 1656, Oil on canvas, 318 cm × 276 cm (125.2 in × 108.7 in), Museo del Prado, Madrid.


Mise-en-abyme: Literally, "placement en abyme," where "en abîme" itself refers to the habit of representing a small shield inside a larger one in traditional heralds and coats-of-arms. This device is often part of the text's self-reflexivity. By extension, most any "story-within-a-story" situations can be called an example of mise-en-abyme. The device is especially common in modern literature, television and films, but it occasionally appears in art.
The Literary Link, retrieved on 8 December 2010

And while we're at it:

mise en scène |ˌmēz ˌä n ˈsen|
noun [usu. in sing. ]
the arrangement of scenery and stage properties in a play.
• the setting or surroundings of an event or action.
ORIGIN French, literally ‘putting on stage.’


Putting on stage...behind the scenes...to infinity...



Monday, December 6, 2010

Ruby-Rose-sets-lesbian-precedent




http://www.stuff.co.nz/entertainment/celebrities/4428316/Ruby-Rose-sets-lesbian-precedent

Wednesday, November 24, 2010

out soon

http://www.thebigidea.co.nz/connect/events/2010/dec/77879-artsville-in-bed-with-anika-moa

Artsville: In Bed With Anika Moa
The Artsville series returns with an intimate and frank documentary In Bed With Anika Moa in which the much-loved songwriter bares her soul about going it alone in the music industry, coming out as a lesbian, and her marriage to a female burlesque performer.

Monday, November 22, 2010

falling and staging

Another pair, potentially hot for the night-time? I've flipped the dark matter image horizontally and inverted the black text in the middle of the lit stages to white text on black background.

Tonight, I'm going to work on Binocular Safari as I'd really like to have all of you in the jeep and get some hints of blog/digi spice in the right-hand panel - on the one hand I can see that you are already on my safari, and I'm on yours, when I look around, but it's not the same as having you there under the same savanna skies... watch this space.

I'll send through proofed text of BK texts 1 and 2; the Topp Twins text; and this line in case we want to use it (original had spelling mistake -'untill':

'she was never gay until 2 days ago when she came out on the blog' (tick).

I also feel I'm missing the hands in the black curtains by M+C...

and something for the 'odd sock' box: http://www.stuff.co.nz/oddstuff/4373183/Undertakers-offer-coffins-for-gay-market

Saturday, November 20, 2010

Emancipatory Hedonism


From Jan Verwoert's essay

Lying Freely to the Public. And Other, Maybe Better, Ways to Survive

Power structures need public prosecutors because they invest belief into the reality of these structures. Whether the prosecutors defend or criticize the structures makes no difference in this regard. On the contrary, it is precisely the critic of institutional power structures, for instance, who does these structures the invaluable service of making the public believe that the institutional apparatus is the most, if not only, important force that determines the production of art. Converting to this belief, however, means to renounce your faith in the idea that art practice could actually make a difference. One prominent fallacy of political art criticism has therefore always been to ground their critique in a serious belief in the exclusive power of power structures. A criticism that sought to empower resistance, however, would have to analyse the structures, but deny them the service of believing, and instead invest the power of belief into the possibility of change through (art) practice.

Monday, November 15, 2010

K8 Hardy & Men

Back to some recent contemporary outputs...
COLLAGE COLLAGE COLLAGE

Saturday, November 13, 2010

Gay-der!
























Just thinking through what might work together and I like the anecdotal bar scripts with something more one-liner-ish but sophisticatedly so - in vein of the effing dykes post on gay-dar and as it could also be written - gay-der! - questioning objectifying entertaining derailing complaining hailing...?

Oh, and Google-ads just ad-ed me when I posted this - Gay Flirtations - for men! How did that happen!?

Oh, and I hate statistics but here you go anyway:

http://fitperez.com/2010-11-12-in-small-study-of-children-of-lesbian-couples-none-reported-any-physical-or-sexual-abuse/?from=PH



Friday, November 12, 2010

Kiss kiss kiss

A queer snog-mob gathers for the Popes recent visit to Barcelona. Plus check out the pope mobile. It looks like a virtine (or lightbox?) on wheels! I want one.



Elmgreen & Dragset's National Memorial for the Homosexual Victims of the Nazi Regime in Berlin. Gonna payses me a wee visit in December.


Lesbian couples kiss at Federation Square, Melbourne as Home and Away airs its first lesbian kiss (December 2009). You can see the kiss here ...WARNING... it is total disapointment in terms of kiss quality. These les' did a much better job, and on mass too.


July 18, 2010 counter-protest of NOM (National Organization for Marriage)

Oberlin College, in Oberlin Ohio, on Tuesday May 10, 2000. Nice work lads.

Argentina passes gay marriage legislation. Kisses all round!

Monday, November 8, 2010

Avant-garde Homosexuality?

At the end of this page you can see documentation of a performance (?) at an opening at YK3 in Melbourne. 50 big ones if you can find Daniel du Bern.

thy thigh

Monday, November 1, 2010

what do you think of the title as effing short (accurate fiction) story?

"I started writing the one-sentence stories when I was translating Swann's Way," she recalls. "There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences. The sheer length of a thought of his didn't make me recoil exactly – I loved working on it – but it made me want to see how short a piece of fiction could be that would still have a point to it, and not just be a throwaway joke."

- Lydia Davis



Some random attempts in this direction:


she’s been hanging around her a lot lately

the events of Wednesday night made her question whether she did in fact have an injury
all the boys and girls they abandoned that time in the heatwave

she fully questions her motive for following in its wake
no chairs were available which meant the lesbians had to stand
we have moved beyond a merely reactionary response to industry concerns with balls
in a small part of the country a rumour is substantiated by its small claim

marvelous inconsistencies that included a wolf and an irreverent glossy-red eye

bury me next to Cynthia, her shadow had dignity
we nap in preparation as others have done before us

blind anticipation and subsequent training
the athletic heart, a quarterly digest

the door is in her chest and someone has been knocking on it for several hours
the sea comes in all directions, sometimes a wind of miniature anchors drifting on her skin

Saturday, October 30, 2010

news of the minute: 'out and proud' objects


(This post relies heavily on the images that might potentially form in your cerebral areas)

http://www.stuff.co.nz/life-style/wellbeing/4289463/Out-and-proud

I feel that the projected reader of this article is intended to be other than glbt - or it is addressed to 'dominant' hegemony or perceptions of sexuality (strongly aligned with gender stereotypes, even if there is an attempt being made to dismantle some of them).

It's not really addressed to the glbt reader (or a reader sensitive to glbt experience). Or if it is, then the glbt reader must ghost as a non-glbt reader for a time, or draw on a time prior to their adoption of glbt circumference, or draw on a communal memory of a time prior to glbt-dom, if they were lucky enough to have not needed to adopt glbt radius, pie or square root, and instead were 'born as'). For example it's not saying anything directly about the different lifestyles, beliefs or attitudes that glbt individuals have or lead. Nor how glbt might see the world in relation to other glbt people - not to mention attitudes to war, nationalism, identity, gender, relationships, etc. which are mono-mobilized and for me remain unsung here.


You can be gay and own a poster signed by ye-olde-Bush - and that liberal-meets-conservative contradiction (a hinted-at contradiction seems to be a recognizable form of normative subjectivity in the context of this article) is then mobilized to absorb the homosexual into an 'open' reality that has strict border controls. It's a doubling of 'contradiction' that acts as a means for absorption and absolution...


It's the petty relocation or shuffling of difference in this kind of article or address, which makes glbt experience appear mono-cultural to me.

AND it brings up the power-ambiguity of subjectivity.

If Hito was trying to think through an alternative to the power-ambiguity of subjectivity, proposing the historically bruised (or contingency-bruised) object, what are we left with as far as tools, thoughts, sensations, to live, work and act as or with:

  • a community of objects
  • objects which circulate a tangible uninhibited humanity
  • objects that can/can't possibly breach everyday humanity
  • objects that forage on the outskirts of power-as-humanity
  • objects of communities; a cancellation or corroboration of non-mono-subjective humanity
  • ...?
(phew...)

And a recap re: Sophie Calle via Yve-Alain Bois (Lecture)

Calle conjures the indefatigable reader
There is an overflow of affect (via anticipation) – there is a countdown and then an encounter
And the encounter is entropic
She pretends to be building a character
She makes manifest contingency
And the tragedies of impersonation


I respond:
She would remove her glasses and begin at the farthest point her sight allowed a figure to be defined. The closer the figure got, the harder it became for her to see in any detail the figure as it persisted into near distance. Sometimes she would resort to her prescription lenses to take in the full force of the figure’s advance.